The Deodand

What are these women up to? They've gone and strung
Drapes over the windows, cutting out light
And the slightest hope of a breeze here in mid-August.
Can this be simply to avoid being seen
By some prying femme-de-chambre across the boulevard
Who has stepped out on a balcony to disburse
Her dustmop gleanings on the summer air?
And what of these rugs and pillows, all haphazard,
Here in what might be someone's living room
In the swank, high-toned sixteenth arrondissement?
What would their fathers, husbands, fiancés,
Those pillars of the old haute-bourgeoisie,
Think of the strange charade now in the making?
Swathed in exotic finery, in loose silks,
Gauzy organzas with metallic threads,
Intricate Arab vests, brass ornaments
At wrist and ankle, those small sexual fetters,
Tight little silver chains, and bangled gold
Suspended like a coarse barbarian treasure
From soft earlobes pierced through symbolically,
They are preparing some tableau vivant.
One girl, consulting the authority
Of a painting, perhaps by Ingres or Delacroix,
Is reporting over her shoulder on the use
Of kohl to lend its dark, savage allurements.
Another, playing the slave-artisan's role,
Almost completely naked, brush in hand,
Attends to these instructions as she prepares
To complete the seductive shadowing of the eyes
Of the blonde girl who appears the harem favorite,
And who is now admiring these effects
In a mirror held by a fourth, a well-clad servant.
The scene simmers with Paris and women in heat,
Darkened and airless, perhaps with a faint hum
Of trapped flies, and a strong odor of musk.
For whom do they play at this hot indolence
And languorous vassalage? They are alone
With fantasies of jasmine and brass lamps,
Melons and dates and bowls of rose-water,
A courtyard fountain's firework blaze of prisms,
Its basin sown with stars and poissons d'or,
And a rude stable smell of animal strength,
Of leather thongs, hinting of violations,
Swooning lubricities and lassitudes.
What is all this but crude imperial pride,
Feminized, scented and attenuated,
The exploitation of the primitive,
Homages of romantic self-deception,
Mimes of submission glamorized as lust?
Have they no intimation, no recall
Of the once queen who liked to play at milkmaid,
And the fierce butcher-reckoning that followed
Her innocent, unthinking masquerade?
Those who will not be taught by history
Have as their curse the office to repeat it,
And for this little spiritual debauch
(Reported here with warm, exacting care
By Pierre Renoir in 1872'
Apparently unnoticed by the girls,
An invisible voyeur, like you and me)
Exactions shall be made, an expiation,
A forfeiture. Though it take ninety years,
All the retributive iron of Racine
Shall answer from the raging heat of the desert.

In the final months of the Algerian war
They captured a very young French Legionnaire.
They shaved his head, decked him in a blonde wig,
Carmined his lips grotesquely, fitted him out
With long, theatrical false eyelashes
And a bright, loose-fitting skirt of calico,
And cut off all the fingers of both hands.
He had to eat from a fork held by his captors.
Thus costumed, he was taken from town to town,
Encampment to encampment, on a leash,
And forced to beg for his food with a special verse
Sung to a popular show tune of those days:
'Donnez moi à manger de vos mains
Car c'est pour vous que je fais ma petite danse;
Car je suis Madeleine, la putain,
Et je m'en vais le lendemain matin,
Car je suis La Belle France.â?